Drahla – Twelve Divisions Of The Day
Leeds trio Drahla shared the video for their new single ‘Twelve Divisions Of The Day’ this week a stark deconstruction of modern art. ‘Twelve Divisions Of The Day’, opens with a clanging that sounds like telephone wires being stamped on by people in steel toe capped boots it lights the touch paper in this fantastically sinuous blend of serrated, wired noise pop. Riven with trembling basslines, twitchy drums and singer/guitarist Luciel Brown’s compelling spoken words that urgently strip the hellish formulas for living and reveal a simmering rage. Like a smile that masks menacing intentions.
Speaking on the origins of the clip, Brown states: “The video is an abstracted representation of process and routine. This is depicted through the recreation of the cover artwork and repetitive nature of the content used.” (BC)
DMMYY – The Hush
Brighton Duo DMMYY return with ace new single ‘The Hush’ shudders with a buoyant synth pop playfulness that reminds one of The Go! Team or Robots in Disguise with its downright cheek. This bricolage of funky big beat rhythms, bounding disco synths and chanted vocal refrains is like the instructional tape to a naked exercise class.
They say; ‘’This is for the Deliveroo drivers, the tennis players, the pints, for wood club, for those who spend hours in armchairs, for Banf, for the Paris House & is not, and never will be, for the Royal Mail.’’
It was released on the 10th August by Home Counties Records. (BC)
Fröst – Record Still Spinning
Fröst is a Brighton-based collaboration between French-Swedish sound artist Johanna Bramli (vocalist for Stereolab offshoot Imitation Electric Piano) and Fujiya & Miyagi’s synth player and producer Steve Lewis. A pulsing and hypnotic beat underpins the haunting vocals and intricate textures of ‘Record Still Spinning’ with its slithering organs, samples, guitars that are squashed, it’s an enveloping atmosphere, there’s a claustrophobic air to Bramli’s vocals that are the sound of insomnia, it sounds like Broadcast spinning on a loop and infused with the ghosts of early Goldfrapp, absolutely delicious.
On 28th September Fröst release their debut album Matters via Lost Room Records. (BC)
Kimono Loco – Big Boy
London-based band Kimono Loco‘s debut single ‘Big Boy’ is set for release on the 31st August and we have the premiere today.
Produced by Irish producer and Westwood Studios engineer, Shane Shanahan (Kygo, Scott Walker, Pharrell Williams, Kanye West, Frank Ocean), ‘Big Boy’ is a playful ’80s inspired pop joint replete with snappy baselines, a riot of synths it’s about growing up and being able to have an adult relationship, the vocals that could be lifted from the 1975’s playbook. They say “‘Big Boy’ is our most ridiculous track yet, and we wouldn’t have it any other way. You can hear much more of the 80’s in this EP and that’s something you can expect from us in the future.” (BC)
JEFFE – Undecided
Australian artist JEFFE has been making waves with her most recent track ‘Whoever You Love, I’m Cool’. It was also picked up hype on US Spotify playlist Fresh Finds and has now picked up millions of streams but who cares about stats right because her new track ‘Undecided’ is a cracker. moody, and pulsing this deep cut balances introspection with a fleeting glimpses at joy, the squelching synths and expert production are sumptuously executed there are elements of Lorde about JEFFE’s vocals that pour forth like the contents of an anxious mind, yet also there’s a melodic striking quality that underscores that JEFFE is very much her own artist. It may be Undecided but it’s also futuristic, and fantastic. (BC)
Steady Holiday – Mothers
This tendency towards weird female artist names in the U.S. is taxing me. Hot on the heels of Soccer Mommy comes Steady Holiday, the indie-pop project of Los Angeles’ Dre Babinski, which is an attractive catchy name in its own right, so why not stick with it? She recently began writing and recording for herself, clandestinely, after years playing in L.A. bands.
Her pet subject is hidden desire. ‘Mothers’ is from her second album, Nobody’s Watching, which will be released on October 5th. Her voice is so light it’s hard to define a category for it but it helps her convey an atmosphere of gentleness and threat at the same time. As she says, “Some have a hard time distinguishing compassion from the slippery slope of altruism. This character is one of them, hesitant to ‘give an inch’, anticipating what will be asked of her next. Maybe it’s more convenient to keep the door locked next time.” Coming from a Sanctuary City, you could read a political comment into that. An intriguing artist. (DB)
Andrew Bayer ft. Alison May – End of All Things
Andrew Bayer has collaborated with several top class artists in pursuit of his third album, In My Last Life which drops on August 24th via AnjunaBeats. He’s in this month’s Nordic Music Scene with Norwegian/Swedish diva Ana Brun and on this final single before the album, he teams up with Portland-based Alison May, who describes herself on her website as a folk singer/songwriter/multi-instrumentalist who currently “can be found co-writing dance music with Andrew Bayer.”
Well, this ain’t no dance music but it is powerful multi-layered and hugely atmospheric electronica that is right up there in the M83 class. I’m wary of pompous dystopian titles. I love the dear departed Rilo Kiley but their ‘The Execution of all things’ grated, at least until I heard the song. Ditto this one. Check it out. (DB).
You Tell Me – Clarion Call
You Tell Me is the new project of Field Music‘s Peter Brewis and folk musician Sarah Hayes and this is their debut single. The debut album is set for release in early 2019 and is said to be largely built around the subject of communication and miscommunication.
She says, “This song started life while on a train journey, which is referenced in the opening lines. It’s mostly about the idea of waiting: to feel ready to spring into action, to be free of fear and anxiety… and then realising it’s often good to push on in spite of these things”.
In baroque pop style and featuring instruments you don’t often hear such as a harpsichord there is a distinct 1960s feel to it. When Sarah Hayes is in full flow I can’t help drawing comparisons with The Seekers and Judith Durham. (DB).
They have a short UK tour in October:
10th October: Glasgow – Hug & Pint
11th October: Manchester (Salford) – Eagle Inn
14th October: Newcastle – Cluny 2
16th October: London – Waiting Room